International studio (44.1911)

A. G. Learned's Dry Points

A

LEARNED’S DRY POINTS
BY ALICE T. SEARLE
The group of etchings in dry point re-
cently shown by A. G. Learned at his

studio, i East Fortieth Street, comprised portraits of

several distinguished men and many beautiful

women. Mr. Learned’s best and strongest work

was disclosed in his likenesses of men. Two sketches

of Edward MacDowell, one in profile, the other in
three-quarter face vhw, successfully expressed with
simplicity of line and form the personality of the be-
loved musician. A portrait of Dr. Charles Fleischer,
etched with the diamond point, showed the artist at
his present best. The heavy black line, freely used
and printed on dead-white paper, was in strong con-
trast to the majority of the other impressions on
tinted paper, where the burr apparently had been
much scraped and manipulated. John W. Alexan-
der, portrayed in a small profile sketch, had charac-
ter and charm. A unique plate was that of Edward
Grieg, in which a delicate design, symbolic of the
descriptive music of the great composer, was suggest-
ively introduced in background and margin. In


PORTRAIT OF JOHN W.
ALEXANDER

BY A. G.
LEARNED

this and in others of like character the artist showed
his partiality for imaginative subjects. Many were
varied by a tint of warm color rubbed over portions
of the plate, giving especially in the case of the women
subjects a pleasing effect. Among these were noted
portraits of Nance O’Neil, Grace George as “Lady
Teazle ’ ’ and the dancer‘ ‘ B onnie Maud ” in the “ B lue
Bird.” In Vera, a delightfully picturesque subject,
and in the likenesses of Myrtle Gilbert and Anne
Meredith the open and delicate line used resembled
Paul Helleu’s work. Mr. Learned employs the steel-
faced plate in common with many etchers of the pres-
ent day, thus securing many more good impressions
than was formerly possible with the bare copper
plate.
The artist is at present at work on a portrait
of Dr. Daniel A. Huebsch, the popular art lecturer
and connoisseur. One of the first impressions of this
plate shown gave promise of interesting results.
The natural pose and vitality already expressed in
the drawing were quite striking.
At the Learned studio there was also seen a most
entertaining collection of original drawings and
sketches by great masters owned by Dr. Huebsch,
the accumulation of which must have occasioned the
owner rare delight. The sketch which was pointed
out with the greatest pride was a pen-and-ink por-
trait of Carolus Duran, done by John S. Sargent
while studying with the former in Paris forty years
ago. A care-free, studentlike note, jotted down on
common white note paper, it yet showed in every
stroke and sensitive line the master’s touch.
Another gem in the collection was the Rodin study,
a wash drawing in monotone, with firm, sinuous line
expressing the bulk and weight of the nude body
bending forward, a valuable and enlightening note
on the sculptor’s method of study. A pencil study
drawn by Paul Renouard while he was in this
country, depicting Robert Ingersoll presenting the
model for the submarines to the committee on ap-
propriations in the house of representatives, was
interesting. There was also an exquisite ink draw-
ing by Donatello of a draped, seated figure, which
curiously resembled quite literally the Greek marble
of like subject at the Metropolitan Museum. An oil
sketch, the head of Cain, by Cormon, was doubtless
the study for the figure in his well-known painting at
the Luxembourg. A charming pencil drawing by
Romney, a water color by La Farge, some of Land-
seer’s impeccable animal sketches, a charcoal study of
the Bashkirtseff home by Bastien Lepage and sev-
eral comical cartoons by Jean Veber were among the
most attractive in the choice little group of great
possessions.

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